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DALENA LE ROUX

Librarian, Central Reference

We face the challenge of creating a

unique South African musicology,

[and] have the opportunity, that

other nations can envy, of building our own

monuments in this ‘last Paradise’. These were

the words of the eminent musicologist, JP

Malan, in an article written in 1983.

Throughout the history of South Africa,

music in all forms has played an integral part

in the development of the cultures of all its

inhabitants, be it traditional Boeremusiek,

Western classical music, African Jazz, indigenous

drum-singing, San click songs, or gospel/church

music.

South Africa has the most diverse range of

national cultures in Africa. As a consequence,

its music especially has generated a profusion

of styles. While much of our popular music has

borrowed heavily from American jazz, hip-hop

and gospel, a rich folk tradition exists, generally

based on the native Black languages like

seSotho, isiZulu, isiXhosa, et cetera. Yet, though

it has been infl uenced by Europe and the US,

music from Africa still has a character utterly

distinct and truly indigenous.

Another distinction is that, while it has

huge regional and stylistic variations a strong

vocal focus is present. Two distinct sounds

are prevalent, namely mbaqanga, a township

style with vocal harmonies and deep ‘groaning’

male vocals, and Zulu a capella, characterised

by groups such as Ladysmith Black Mambazo.

Upon these solid vocal foundations have

emerged styles such as township jive, soul,

bubblegum, the so-called house music and

kwaito.

One of the fi rst major styles of popular South

African music to emerge was the pennywhistle

jive. It originated from black cattle herders

who used to play a reed fl ute. When they

eventually moved to

the cities the young

whites were attracted to

this music and called it

kwela. In spite of its local

popularity this style only

became a hit throughout

Africa in the 1950s, when

commercial recording

started to take off.

African, or swing jazz

had been popular before then, and female jazz

singers like Miriam Makeba were central fi gures

in the African jazz scene. In the 1960s the jazz

scene split into two fi elds: swing bands like the

Elite Swingers on the one hand, and avant-

garde jazz on the other, inspiring musicians like

Hugh Masekela, Dollar Brand and others to

enter the fi eld of popular music. However,

governmental suppression soon ended the

jazz scene, and several artists left South Africa -

many of them never to return.

Ladysmith Black Mambazo, headed by the

honeyed voice of Joseph Shabalala, also arose

in the 60s and became the biggest isicathamiya

(music accompanied

by tip-toe dances)

stars in South Africa’s

history. They remained

popular, especially after

1986 when Paul Simon

included them in the

popular Graceland

album. Black South

African music gained

international repute

during the 70s and 80s,

with Ladysmith Black

Mambazo and Johnny

Clegg (as almost the only white musician

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playing traditional black

music) in the forefront.

Other indigenous styles

that developed in later

years were bubblegum

(a form of pure South

African pop music

based on vocals with

overlapping call-and-

response vocals), hip hop (with Prophets of

Da City as premier crew), kwaito (a uniquely

South African implementation of hip hop,

based on house music beats, but at a slower

tempo and containing melodic and percussive

samples which are shouted or chanted rather

than sung or rapped), and black gospel (with

Rebecca Malope as the biggest star), which

incorporated African musical elements into

worship, remaining one of the most popular

forms of music in the country today.

Also popular is the music of the South African

townships, commonly known as mbaqanga

(the poor man’s soup), evoking pain and

heartache with a yearning melodic intensity.

It provides some of the hardest bass-driven

rhythms with which to express and dance out

frustration and anguish. This was the eventual

descendant of jazz, choral and dance idioms

dating from the beginning of the century.

The church-inspired

vocal tradition of mbube

was an important input,

providing many of

the country’s greatest

singers such as Miriam

Makeba, Letta Mbulu

and Mahlathini.

Of all these fascinating

histories and musical

styles the Central Reference Library (SN) has

a small, but representative selection in stock.

Anybody who wishes to read more about

this, or who wants to listen to South African

black musicians and

their music on CD is

welcome to contact

SN.

Aba Shante (Musical

group). Intwenjani?Loring, Richard.

African footprint.Amampondo. An image of Africa.Amampondo. Inyama.

Bayete. Africa unite.

Bayete. Umkhaya-lo.

Clegg, Johnny, vocals. The best of Juluka/Savuka.Clegg, Johnny. Live & rarities.Dube, Lucky, vocals. Soul taker.The essential South African trip.

Fassie, Brenda, vocals. Brenda Fassie.

Ibrahim, Abdullah, piano. Township one more time.

Images of Africa. Volume one.

Intsholo. Intsholo.

Khumalo, Sibongile, vocals. Ancient evenings.Mahlasela, Vusi, vocals. Miyela Afrika.Makeba, Miriam, vocals. Sabelani.Malope, Rebecca, vocals. Siyabonga.Malope, Rebecca, vocals. Sabel’uyabizwa.Masekela, Hugh, trumpet. Sixty.Mashamplani. Hey kop.

Mbuli, Mzwakhe, vocals. Izigi (Footsteps).Mdunyelwa, Sylvia Ncediwe, vocals. Ingoma.Naninina Pennywhistle (Musical group). Images

of Africa. Volume 12.

Ngema, Mbongeni. Sarafi na!: the sound of freedom: music from the motion picture.

Nina, Joe. Sbali.Nkosi, West, alto saxophone. Village bump.

Puccini, Giacomo. Hal Shaper’s La Boheme noir.S.A. souvenirs.

Sithole, Josh. Images of Africa. Volume 5.

Society Vibes. A new hope.

Soweto String Quartet. Renaissance.

Tales of urban S.A.

Ladysmith Black Mambazo

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Andersson, Muff. Music in the mix: the story

of South African popular music.- Ravan P.,

1981.

An attempt to trace the music scene

from its origins in black indigenous music,

Andersson discusses the problems facing

musicians, and also touches on other popular

forms like resistance music.

Coplan, David. In township tonight!: South Africa’s black city music and theatre.- Ravan P., 1985.

A social history of over three centuries of black South Africa’s city music, dance and theatre, exploring the indigenous musical traditions from penny whistlers, clergyman-composers, the gumboot dances of the mineworkers to the emergence of the fi rst jazz bands and the marabi, kwela and mbaqanga dance styles.

Ewens, Graeme. Africa o-ye!: a celebration of African music.- Guinness, 1991.

A survey of a range of musical styles - from soukous to rai, makossa, umbaqanga, mbalax and jit - in the context of traditional culture.

Graham, Ronnie. The world of African music.- Research Associates, 1992.

This volume refl ects recent developments in the African music market, based on research and interviews with musicians. A full chapter written by Trevor Herman is devoted to developments in South Africa.

Kivnick, Helen Q. Where is the way: song and struggle in South Africa.- Penguin, 1990.

The author explores the importance and power of music in South Africa, analysing the music itself and the traditions of its major forms.

Molefe, ZB. A common hunger to sing: a tribute to South Africa’s black women of song, 1950 to 1990.- Kwela, 1997.

This is a record of, and a tribute to the black female singers who overcame the obstacles of racial and gender discrimination to offer their art as inspiration to millions.

Ngema, Mbongeni. The best of Mbongeni Ngema: an anthology.- Via Afrika, 1995.

An anthology containing the librettos of four plays, namely Asinamali!, Sarafi na!, Township fever, and Magic at 4 am.

South African encyclopedia / general editor, Jacques P Malan.- Oxford U.P., 1979.

A four-volume set giving encyclopaedic information about the development of the various components (European, Coloured, Indian, African and indigenous) of South African music.

Thembela, Alexander Jabulani. The life and works of Bhekizizwe Joseph Shabalala and the Ladysmith Black Mambazo.- Reach Out Pub., 1993.

The authentic account of the life and works of Joseph Shabalala and his Zulu traditional music group.

Nidel, Richard O. World music: the basics.- Routledge, 2005.

An introduction to popular music styles found around the world. It features background information on the cultural and musical history of each country - also of South Africa.

World music: the rough guide. Volume 1, Africa, Europe and the Middle East.- Rough Guides, 1999.

The defi nitive reference work from expert contributors, focusing on popular and roots music to be seen and heard, both live and on CD.

The world of South African music: a reader / edited by Christine Lucia.- Cambridge Scholars P., 2005.

A selection of texts on South African music, providing the reader with an understanding

of the music itself.